Making

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1. Ralph Erskine and Skånska Cementgjuteriet, Växjö 1955 from Vi Cementgjutare nr 2: 1955. 2. Student exhibit at Stadsarkivet Liljeholmskajen, published in Arkitekten November 2019. 3. Students Niklas Dierks and Leo Friedmann, analysis of Ralph Erskine's 1955 Växjö project 2019. 4. Student Hongyou Wan, intervention in Ohlsson & Skarne and HSB's 1968 Brf Päronet in Tensta 2019. 5. Fourth year students, Folkhem and Martinsson pages from a catalogue of contemporary structural systems 2020

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Teachers: Fredrik Stenberg, Nina Taghavi

Studio Theme We work in scale 1:1 and we explore the realization. We studied the built in details with details. We talk about what we can see, touch and feel with our senses and the body’s influence in the build. We look closely at the materials and study how the materials build spaces. We do not study 2D renderings, but rather 3Dstructures through engineering. We do not talk about scenarios and hypotheses, but rather learning by MAKING and the reMAKING. We sketch 3D and we stay (or reside) in the productive zone by Form Finding

MAKING. It's a practical merit.

"The ability to build assumes the knowledge of all architecture and construction forms, as well as their development. To build means to advance this process, to investigate, and to make. The development of buildings began over ten thousand years ago and has reached an extremely high level, but is in no way a architect word: tectonics? Gottfried Semper talks about tectonics

closed process. There are still an infinite number of open possibilities, infinite discoveries to make." (A Conversation with Frei Otto, Juan María Songel 2004)

Studio Methodology Designing and making is key to the design process here in order to gain new insights and knowledge. The process as well as the outcomes are essential parts of the discourse, the evidence. The results are communicated through design work as well as placed in a field of references and understanding. The design begins at the outset. It is not about design as an adjective, it's about design as a noun. It's not about consuming or referring to design, it's about making it. Throughout the year we will approach the design process in different ways by letting different agents be the active force within the framework of the projects. The agent being the carrier, the responsible to whom you lean towards. We will work, the agent will operate.

We will work transdisciplinary through workshops with artists, set designers, curators, carpenters and engineers. 50% of the time we will be out in the field and the rest at the school. The nature of the building project demands 80% of an 40 h week during daytime. We will not do a study trip outside Stockholm or perhaps no more than a small daily excursion. We relate to sustainability through using re- and upcycled materials and by relating ourselves economically to material, Project 1 Formgiving: Ideology, conviction, pathos We start with a manifest, or a letter of intent as a starting point. With conscious choices we make structures. We move towards letting the intention of the designer being the active agent. A manifesto is a published declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party or government [Wikipedia]

Project 2 The architect takes a step back and leans against the process. The goal is not to design the ultimate form or shape but rather to find it with the help of different processes. We’ll make design by letting the process be the active agent

Project 3 Ornament – Representation Perhaps you have during your studies so far stumbled across the time and money by examining materials' diverse aspects.

being the result of two principles in architecture. First you have the structure of the space/building what he calls the core-form. What is needed to hold it up, to build to make it stand. The second principle is the ornament called the art-form. When the art-form is masking the core-form we talk about ornament and when you can't distinguish the art-form from the core-form we talk about tectonics. We will make structures by letting the art-form be the active agent.

Project 4 Material – Tectonics There is a tradition within architecture of going to the material and asking it what I can do. Implying that there is an underlying tectonical logic in every material. We will build structures having the tectonics being the active agent.

Fredrik Stenberg FS is an architect based in Stockholm. He has worked as a lecturer at KTH since 2016. He is one of the founding members in the collective Uglycute and participated in the Art and Architecture Biennale (2003 and 2010) in Venice, and are represented in the collections of Moderna museet. Nina Taghavi NT has been an architect in Stockholm since 2008 (hons) and a teacher/lecturer at KTH school of Architecture since 2014. Between the years 2010–14 she worked in an architecture firm in Paris. Today she runs her firm next to teaching and draw housing projects, interiors or make scenography.